Review: Martina McBride, ‘Everlasting’

Martina McBride balances soul music and her country roots soundly on Everlasting

Veteran country superstar Martina McBride’s 12th album, Everlasting, is certainly a surprise. No, McBride doesn’t go radical and become a pop artist or anything like that, but rather than opting for new original material, she hearkens back to the past. What specifically from the past one asks does Mrs. McBride hearken back to? Soul. While a country artist singing soul music seems somewhat far-fetched given the contrasts of styles, Everlasting proves to be an enjoyable and effective album. McBride isn’t suddenly Aretha Franklin mind you – both artists possessing different vocal skill sets – but McBride does straddle R&B and her country roots well.

“Do Right Woman, Do Right Man” opens the covers album excellently for a couple of reasons. Though it is soulful (and soul music primarily), the sound of the production sounds ‘country’ enough that it truly plays to McBride’s strengths. Perhaps it is a bit sleepy given its tempo, more so than not, “Do Right Woman, Do Right Man” sets the bar high for Everlasting. The quicker “Suspicious Minds” also finds McBride capably handling the renowned Elvis classic with a touch of country to accompany its bursting horns. Sure, the bridge where things switch-up could’ve had a bit more punch – a bit more ‘oomph’ – but it’s definitely no deal breaker.

It definitely takes confidence to tackle one of the greatest soul classics of all time, “If You Don’t Know Me By Now”. Many do take up the task, but few accomplish the feat. Face it – none can do it like Harold Melvin and the Blue Notes, specifically one incredibly soulful Teddy Pendergrass. Martina McBride certainly doesn’t attempt to emulate Pendergrass’ passionate take, but she does seek to deliver a compelling interpretation herself. Vocally, she sounds smooth and on one of the few instances on Everlasting, she ‘frees herself’ to give a bit more vocally in terms of adlibs and nuances. “Little Bit of Rain” proceeds, finding the country veteran benefiting from a backdrop that once more successfully preserves the soul styling while playing well to the country sound. Brief but notable, “Little Bit of Rain” lays well.

“Bring It on Home to Me” is another sensational fit for McBride. While McBride lacks the grit of soul artists, her gentler approach takes nothing away from the song. It doesn’t hurt that McBride receives a truly soulful assist from Gavin DeGraw, who possesses the more edgy, ‘cutting’ voice of the two. The chemistry between to two is sensational. After the slower “Bring It on Home to Me”, McBride accelerates the tempo with a sound take on “Come See About Me”. While she still fails to break a sweat, her cool take easily exemplifies the tongue-n-cheek vibe of this classic. Adding to that tongue-n-cheekiness is the backing vocals whom are like the cherry on top.

“What Becomes of the Brokenhearted”, much like “If You Don’t Know Me By Now” has certainly got to be one of the most covered soul charts. As to why it is so popular is easy to see – it’s exceptionally written and incredibly memorable. McBride does a solid job, though perhaps a bit more assertion on her part in addition to a slightly sharper production may have taken this performance to another level. It’s good, but there is just the yearning for a touch more ‘authenticity’ that few covers can yield. What better way to follow up a ubiquitous classic with yet another, “I’ve Been Loving You Too Long”. Where “What Becomes of the Brokenhearted” lacked some of its own distinctness and separation from the original, “I’ve Been Loving You Too Long” benefits from its restraint. While no one will ever match the Otis Redding version, McBride is able to make this version more true to her country music roots/niche.

“Wild Night” kicks the tempo back up after slowing down for the previous cut. Again never forced vocally, Martina McBride eschews over-singing. With plenty of ‘goodies’ within the production on her side, including vocal layers, McBride once more pulls off her more soulful side perspiring little. Joined by the big-voiced Kelly Clarkson, unsurprisingly “In The Basement” ends up being a highlight. Clarkson definitely takes an antithetical approach to McBride – in other words, she likes her adlibs and pop/urban vocal runs. It’s ‘all good’ though! Everlasting ends strongly. Penultimate number “My Babe” has countrified soul written all over it, proving to be the perfect joint to piggyback “In the Basement.” “To Know Him Is to Love Him” closes soundly, showcasing McBride in particularly good voice given the relaxed tempo. Not overproduced yet also not under-produced, “To Know Him Is to Love Him” feels right.

All in all, Everlasting is a solid effort from one of country’s preeminent voices. Sure McBride’s popularity has waned in recent times (unfortunately), but she’s definitely still got the pipes. There are times when she could’ve ‘dug in’ more given the style, but for the most part, McBride delivers soul and remains true to herself and her style. It’s no reinvention, but at this point in her career, there’s no shame in dropping a covers album.

Favorites:

“Do Right Woman, Do Right Man”; “If You Don’t Know Me By Now”; “Bring It On Home to Me”; “In The Basement”